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[insubcd04] INSUB META ORCHESTRA archive #1

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[insubcd04] INSUB META ORCHESTRA archive #1




Antoine Läng mouth - Brice Catherin cello - Brooks Giger doublebass - Christian Müller contrabass clarinet - Christophe Berthet saxophone, conduction n°2 - Christoph Schiller spinet, conduction n°1 - Cyril Bondi floor tom, cymbal - dâincise objects, conduction n°3 - Denis Beuret trombone - Dragos Tara doublebass - Edmée Fleury voice - Eric Ruffing theremin, analog electronics - Fabrice Pittet ac. guitar, voice, perc. - Filippo Provenzale percussions - Frédéric Minner elec. bass - Florence Melnotte keyboard - Ganesh Geymeier saxophone - Gianluca Ruggeri function generator - Gérald Zbinden ac.& elec. guitars - Guy Bettini trumpet - Hannah Marshall cello - Heike Fiedler voice - Igor Cubrilovic acoustic resonator guitar - Ivan Verda elec. guitar, buzuki - Jamasp Jhabvala violin - Jonas Kocher accordion - Loïc Grobéty piano strings elec. bass - Marcel Chagrin elec. guitar - Nicolas Raufaste ac. guitar - Olga Kokcharova typewriter, voice - Patricia Bosshard violin, conduction n°5 - Phonotopy tennis raquet - Raphaël Ortis elec. bass - Richard Jean elec. guitar - Rodolphe Loubatière percussions, conduction n°4 - Simon Berz d.i.y. instruments, electronic - Steve Buchanan saxophone, elec. guitar - Thierry Simonot electronics - Thomas Peter laptop - Vinz Vonlanthen elec. guitar, banjo

The IMO is a very large improvisors ensemble, founded in september 2010, It usually gather about 35 musicians per concert, from all switzerland and beyond.

From the, expected, mess of the first concerts emerged a collective consciousness and involvement from the impressive number of musicians included in this ambitious projet. After a year - and 7 concerts - 40 of them met during 3 day during the 2011 summer, marking a sensitive step in the orchestra progression. Working deeply a certain amount of pieces - concepts and conductions - appeared a new sound quality, a opening of the space, a fragility of the volume, a more electroacoustique, minimal, "concrète" direction. The orchestra started to think as an an emsemble, with multiple components but looking to project a unique/common sound, to look for details, restraint, variable densities, breathes, drones, subbasses...

The alternation of "free" and "conducted" improvisation was from the begining a manner to test various pathes of collective operation. If this first record - first archive - contain mainly conducted pieces it's because at one time they were crucial about etablishing a common background into the orchestra, it resulted a definitive strenght allowing us now to play autonomously with far much accuracy.

The IMO, whom will have done 16 concerts more at the end of its second season, became, beyond the manifest gathering, a solid group and a experience open on an exciting future.


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